Monday, July 31, 2017

…Match Girl…&…Crossing a Field—Portland Opera—Downtown Portland

“The World is Too Much With Us”

The Little Match Girl Passion (from a story by Hans
Christian Anderson) and The Difficulty of Crossing a Field (from a story by
Ambrose Bierce) are composed for the stage by David Lang and directed by Jerry
Mouawad (co-Artistic Director/Founder of Imago) and orchestra conducted by Hal
France.It is playing at the Newmark
Theatre, 1111 SW Broadway, July 30th, August 3rd & 5th.For more information, go to their site at www.portlandopera.org or call
503-241-1802 for tickets.

I asked myself, what do these two stories have in common,
that a marriage of a production would be appropriate? For one thing both the original tales, on
which they are based, are from fantasy/fiction writers. Anderson, a writer of classic children’s
stories, and Bierce a writer, in part, of ghost stories (also a newspaper
reporter, who disappeared also when doing a story on Poncho Villa). Both episodes also deal with alienation,
change, “holes” in our dimensions, evolution, and a passing over or on, into
another realm. “We are such stuff as
dreams are made on and our little life is rounded with a sleep.”

“…Crossing a Field” deals with a plantation owner, Mr.
Williamson (Michael Streeter) in the Deep South (Selma) during the Civil War
era. As the story goes, it seems that he
and a neighbor, Mr. Wren (Allen Nause), who he was to buy some horses from,
were crossing one of his fields one sunny day, when he simply disappeared into
thin air.

It also seems some slaves (Lisa Williamson, Martin Bakari,
Nicole Mitchell, Laila Murphy, Ernest C. Jackson, Jr., and Damien Geter), who
were working the fields, under his brother, the overseer, Andrew (Christian
Zaremba), also witnessed this event but, because they were slaves, were not
considered credible observers. It is
brought to trial to the Magistrate (Todd Van Voris), who must decide, not what
happened to him specifically, but whether he is living or dead.

If dead, then his inheritors would divide the Will. There is his wife, Mrs. Williamson (Hannah S.
Penn), who over a course of time, slowly loses her reason, divesting herself of
the way of life she’s known. There is
his daughter (Cree Carrico), who seems to have an uncanny connection with other
forces in the atmosphere, that might have driven her father to this fate. Then there is his brother, who would also get
a nice piece of the pie. Did all these
people conspire to murder him? Or did
the slaves revolt? Or did he simply
escape to another town, another life, to get away?

There is, of course, the possibility, that he walked through
a hole into another dimension. There are
a few recorded cases where similar things have happened. But, in this case, a world was turned upside
down and, although a people, a Nation, were evolving, there is “no gain,
without pain.” For this conclusion, you
have to witness it for yourself.

The cast of singers is exceptional, no surprise there as
Portland Opera gets the best of the best.
I was especially impressed with Penn, Bakari and Mitchell, as they added
an extra dash of depth to their characters, I thought. The voice actors, Van Voris, Nause and
Streeter are also among the best, also, as I have reviewed them favorably in
the past many times. This blend of voice
actors with singers is a real asset to this show. And Mouawad adds stylized movement, as an
extra touch, and a simple setting, which focuses us more on the story, acting
and singing.

Crossing Over

The second selection is from one of my favorite stories by
Anderson, but definitely a tragic one.
It’s about a little waif, a match girl (Max Young), during the 1800’s,
who is forced during the winter months to sell matches on the street, her only
source for food, to strangers. She
discovers that every time she lights a match, a scene of warmth and
friendliness appears, as does her grandmother, who has passed over. But when she does this, she is also wasting
any chance of an income. It’s a
bittersweet ending so I won’t reveal it, but I think you can guess which world
she chooses to be a part of.

It would be nice to think that a stranger passing by would
take pity on her but when you turn on the news today and see the abject poverty
world-wide that children/families must deal with all the time, one should feel
ashamed that such things could happen.
This is our future that we are letting die, so take heed!

Young, as the girl, in a wordless performance, speaks
volumes with her silence! You sincerely
feel for her and all that she is experiencing.
A wonderful, touching performance!
The singers (again, Williamson, Penn, Bakari, Carrico, Mitchell,
Zaremba, Geter and Jackson, Jr.) also act as a sort of Greek Chorus, commenting
on the proceedings, and they are super.
Some Movement Artists (Gwendolyn Duffy, Kaician Jade Kitko, Carla Grant,
Nathan H. G., Fiely Matias, Sumi Wu and Carol Triffle (co-Artistic
Director/Founder of Imago) are added for an additional blow to the emotions.

Mouawad also has used shadows/silhouettes for his movement
people, a touch of magic that transforms a bare stage into a bustling
metropolis, or ghostly presences, or scenes of gladness whenever he
chooses. An exceptional director for
both these pieces!

Lang has really transformed both these stories into a
nether-world of emotional and artistic pleasure/sadness/wonderment. I recommend these productions. If you do choose to see them, please say that
Dennis sent you.

Who is Dennis Sparks?

It is only fair, I believe, to give you a little
background on myself, if you are going to be reading my reviews and will be
considering me a source to see plays.

To
begin with, most reviewers in the media have little or no practical experience
in the actual arts themselves.They may
have dabbled a bit in a play or film, at some point, but their main source for
reviewing, is experience in journalism, literature and other exposures to the
written word.This is not true in my
case.

Yes, I have had some experience in journalism, but my major focus for the past 40 years has been the performing arts. Most of it in the Pacific Northwest, as well as the Western New York area. I have worked backstage as a “techie” and onstage as an actor. I have been an Artistic Director of three companies and have been a Producer and founder of two. I have directed many shows and written a few stage plays, as well, some of which have been performed. I have taught drama to adults and Youth and have even written screenplays. And, yes, have written reviews for theatre and film for four weekly newspapers over the years, most recently, for the Vancouver Voice.

I share this information with you, not to be bragging, but for you to know that I am well-versed in all aspects of the performing arts. Thus, my opinions are based on a solid background in the field. I am a firm supporter of the Arts and the importance of it in our Society. But I am also an observer, an audience member, as well, of many shows. And, as such, am critical when I can sense that a performance or production is not at the top of their game. Therefore, I feel obligated to point out these “rooms for improvement” but I hope, in a constructive way.

Also, I do not want to discourage a viewer from seeing a show because I didn’t feel it was “up to snuff.” On the contrary, I want you to see it and form your own opinion. I just hope that I have given you some things to look at that are good and, perhaps, not so good. I encourage everyone to see plays. I promise you, at the very least, you will become a more well-rounded and aware person because of it. Through the eyes of artists, you will experience a world of possibilities. And, in possibilities, there is Hope. And couldn’t we all have just a little more of that in our World?!